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a community-grown, libre Open Access archive of Jewish prayer and liturgical resources — for those crafting their own prayerbooks and sharing the content of their practice
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a community-grown, libre Open Access archive of Jewish prayer and liturgical resources — for those crafting their own prayerbooks and sharing the content of their practice
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49th century A.M. —⟶ tag: 49th century A.M. Sorted Chronologically (old to new). Sort most recent first? A seliḥah for 17 Tammuz by the great payṭan and philosopher Shlomo ibn Gabirol. This seliḥa is referred to as pizmon, meaning that (in the Ashkenazi rite) each stanza is recited aloud by the congregation followed by the shaliaḥ tzibbur. This piyyuṭ, in Ashkenazi practice, serves as the final unique seliḥa of the 17 Tammuz seliḥot. (There are other piyyutim recited as part of fast day seliḥot but they aren’t unique to 17 Tammuz.) . . . A meorah — a piyyuṭ to be inserted before the ḥatima of the first blessing of the Shema’ — by the great payṭan Yehuda haLevi. This piyyuṭ was traditionally recited in eastern Ashkenazi communities on Shabbat Yitro and VaEtḥanan, the two Shabbatot where the Ten Commandments are read. Some also included it on the first day of Shavuot for the same reason. . . . The piyyut, Adon Olam, in its expanded fifteen line variation, in Hebrew with English translation. . . . Categories: Tags: 11th century C.E., 49th century A.M., אדון עולם Adon Olam, cosmological, Nusaḥ Sefaradi, Openers, פיוטים piyyuṭim Contributor(s): This ahavah piyyut, likely by the paytan Yitsḥaq ben Reuven Albargeloni (the acrostic signature is ambiguous), is a longing love song between Israel, the “amazing one,” and God, the “Mighty One.” As an ahavah, it is recited prior to the final line of the guf and the ḥatima of the Ahavah Rabba blessing. . . . Emma Lazarus’s translation, “In the Night” — derived from the piyyut נַפְשִׁי אִוִּיתִיךָ בַּלַּיְלָה by Moses ibn Ezra — was first published in her anthology, Songs of a Semite: The dance to death and other poems (1882), pages 78-80. . . . Categories: Tags: 12th century C.E., 49th century A.M., night, פיוטים piyyuṭim, rhyming translation, תשובה teshuvah, זמן תשובה Zman teshuvah Contributor(s): This is a partial English translation of Al Ahavatekha offered by rabbi Levi Weiman-Kelman to accompany a video by Nigunim Ensemble presenting their musical setting of the piyyut on Youtube in 2018. . . . Categories: Tags: Contributor(s): “Zweites Gebet vor Neïla” is an abridged, adapted translation by Yehoshua Heshil Miro of the piyyut by Yehudah haLevi “Barkhi Nafshi et Adonai.” There are seven stanzas missing near the end including the final stanza and a portion of the penultimate stanza. The translation was published in Miro’s anthology of teḥinot, בית יעקב (Beit Yaaqov) Allgemeines Gebetbuch für gebildete Frauen mosaicher Religion. It first appears in the 1835 edition, as teḥinah №48 pp. 83-85. In the 1842 edition, it appears as teḥinah №50 on pp. 86-90. . . . Categories: Tags: 12th century C.E., 19th century C.E., 49th century A.M., 56th century A.M., Acrostic signature, Alphabetic Acrostic, German Jewry, German vernacular prayer, Jewish Women's Prayers, paraliturgical neïlah, תחינות teḥinot Contributor(s): “Roshei am et hitasef umlekhim b’sodam” by Yehuda Halevi was translated by Herman Prins Salomon in “Yehuda Halevi and his ‘Cid’” and published in The American Sepharadi (1978), pp. 22-46. . . . Categories: Tags: Contributor(s): The physician’s prayer of Rabbi Dr. Yehudah ben Shmuel haLevi in the 12th century CE. . . . Categories: Tags: 12th century C.E., 49th century A.M., prayers of health care workers, Prayers of Primary Caregivers, professional intention Contributor(s): A piyyut that expresses the paradox of a divinity that is both “Beyond” and “Present.” . . . Categories: Tags: Contributor(s): A rhyming English translation of the piyyut Adonai Negdekha kol Ta’avati. . . . Categories: Tags: Contributor(s): חֲרוּזִים עַל שְּׂחוֹק שָׁ״הּ־מָ״תּ | Rhymed Poem on Chess (long), by Avraham ibn Ezra (ca. 12th c.)A poem on how to play chess, one of the oldest historical descriptions of the game of Chess, by Avraham ibn Ezra (12th century) . . . Categories: Tags: Contributor(s): “Avnei Y’qar” is a succint piyyut for Ḥanukkah, traditionally attributed to R. Abraham ibn Ezra, and particularly beloved by the Yemenites. Interestingly, it doesn’t mention the miracle of the oil whatsoever, focusing on the degradation of the land under Greek occupation as well as the Hasmonean victory itself. Included is a poetic acrostic translation into English. . . . The piyyut, Agadelkha, in Hebrew with an English translation. . . . Categories: Tags: 12th century C.E., 49th century A.M., acrostic, Acrostic signature, אגדלך Agadelkha, cosmological, קדיש ḳaddish, פיוטים piyyuṭim, רשות reshut, ספר יצירה Sefer Yetsirah, זמירות zemirot Contributor(s): A medieval Jewish poem on the game of Chess by Avraham ibn Ezra.. . . . Categories: Tags: Contributor(s): A popular piyyut for all occasions by Avraham ibn Ezra. . . . An interpretive translation of a piyyut composed as an introduction to the prayer Nishmat Kol Ḥai. . . . Categories: Tags: 12th century C.E., 49th century A.M., acrostic, Acrostic signature, libi uv'sari, נשמת כל חי Nishmat kol ḥai, פיוטים piyyuṭim, צמאה נפשי Tsamah Nafshi, זמירות zemirot Contributor(s): This translation of Tsam’ah Nafshi was made by Avi Shmidman and Tzvi Novick, and first published by the Az Yashir Moshe Project birkon (2009), p. 56-57. . . . A poetic introduction to the Azharot of Solomon ibn Gabirol read in the afternoon of Shavuot by Sefaradim. . . . Categories: Tags: 12th century C.E., 49th century A.M., acrostic, Acrostic signature, Azharot, Decalogue, Har Sinai, Nusaḥ Sefaradi, פיוטים piyyuṭim, התורה the Torah, theophany Contributor(s): This meorah, by R. Avraham bar Shmuel of Speyer (the elder brother of R. Yehuda heḤasid and a great scholar in his own right) is recited on Shabbat Naso. This is usually after Shavuot, but sometimes (in 2025, for instance) it is before. This meorah is a poetic interpretation of the Priestly Blessing, and a plea for vengeance against the antisemitic nations. As a meorah, it is recited prior to the final line of the guf and the ḥatima of the Yotser Or blessing. . . . | ||
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